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Gypsy Movie Review : A well-intended film let down by writing and the censors

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Aravin Dan 43 1169 days ago

The director writer is obviously skewed in his views.The very fact that he projects now defunct communists in good stead and Muslims , non-aggressive and Sikhs as victims and Hindus as aggressors shows that how biased he is.And the hero has no religion and he is honest.Only Hindus and the caste system is evil. The foremost culprit is the politicians who instigate violence for their growth.Probably the writer was born lower caste and was deeply affected and out of that experience he has spewed venom on Hindus.This fellow needs to come out of his shell and see the changing positive world.Every religion has its own country as base and why shouldn't Hindus consider India where it was born as a base.Hindus are the most peaceful people with high tolerance towards other religions.Its only the extremists in other religions take advantage against Hindus by splitting them.This director quoting Cheguera who was the primary suffering and chaos in south America is laughable. Raju Murugan needs to grow up and come out of narrow minded approach.

sharonfilan 1225 days ago

This movie tells about the politics using religions and religious riots that effect the common people, 100% true story that happens in india

Sowmiya moni 1367 days ago

Agathiyan agathiyan 1409 days ago, technical aritra 1419 days ago.

Average movie

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Gypsy Movie Review: A Film With Its Heart In The Right Place

Cast: Jiiva , Natasha Singh, Lal Jose , Sunny Wayne, Sushila Raman

Director: Raju Murugan

A baby is born in Kashmir amidst gunshots, missiles, and bombings. The father, a Hindu, and the mother, a Muslim, are hiding under a bridge with a horse-riding, nomadic musician – a gypsy – with them cowering and the horse, calm and motionless, just outside the tunnel. What happens next is anybody’s guess. The parents are killed. The baby is adopted by the gypsy and grows up to become one with the horse. He is literally called Gypsy (Jiiva).

He is not only the product of a religious union but because he was born in Kashmir, he is also a son of nowhere land (the censors have surprisingly left out a “Free Kashmir” sign written on a wall. Small victories). He claims multiple times that he has no religion, at one point, during a cricket match, he says India and Pakistan are one and the same to him, while he is also aware of every tenet in each of the prominent religions named in the film – Hinduism, Islam and Christianity.

Here too, like his previous film, Raju Murugan embraces the federalism of India and shows up its fractured status in an early scene, where Gypsy has to play a bipartisan role to assuage disingenuous politicians, on either side of Hosur road, agitating for the Cauvery water dispute and causing public nuisance. This quality of Raju Murugan’s films also rears his head when the script traverses the length and breadth of the country, where Hindi seamlessly blends with Tamil and with a character like Gypsy, the indulgence is almost natural.

The film has all the Raju Murugan staples of political discourse – the communist party posters (and later, an office of the CPI(M) in Kerala), Gypsy rescuing a manual scavenging worker, name dropping several issues that can come across as performative and inorganic. It also has simple-minded, unsophisticated stretches, delivering a polemic on religion replete with only platitudes. Like his previous film Joker , here too, the film’s track is shaped by the personal becoming political. Gypsy is essentially a romantic tragedy, an inter-religious couple who face a crisis not in the form of families but in the form of a larger socio-political force that is reshaping the country.

There are in fact two relationships at play here. One between Gypsy and Waheeda (Natasha Singh), a track where the latter holds the upper-hand and gets to make the moves despite living in a stifling, orthodox Tamil Muslim household in Nagore. It begins in an innocuous fashion but feels overlong.

There is another relationship, the second one between Gypsy and his horse Che. The horse and Gypsy are framed in centre with Gypsy’s face hidden behind the horse’s, and in another instance in the beautiful composition from Santhosh Narayanan, Kaathellam , Gypsy is dancing on top of a wall and framed from just beneath the horse, to make it look like he is on top of it. Raju Murugan keeps insisting that they are one and the same, both entertainers, significant to each other for their physical survival. It’s also why the emotional gut-punch works later.

I am not entirely sure about this but at the outset, Raju Murugan’s drawing of the orthodox Muslim family seems problematic, the father played by Lal Jose, staunch in his beliefs, who sends his three children only to the madrasa. He is also taught a thing or two about the Quran by Gypsy, a topic the Muslim man believes to be an expert in.

A communist party worker refers to him as a “fundamentalist”. It’s not clear what exactly is established by this framing, except that he belongs to a demographic that very much exists. It is essential to the film that they are from Tamil Nadu and when they must move, they go to Kerala. Two states that boast of large, mostly peaceful Muslim population. It’s also why when Waheeda elopes with Gypsy and becomes a fellow vagabond, she is displaced from a relatively sedate southern part of India to the cow belt where Hindu fundamentalism rules the roost.

The censors have heavily chopped the film with the saffron colour completely bathed in black and white, where Raju Murugan recreates a Gujarat 2002 like pogrom in Uttar Pradesh. The riots are decontextualized in the script of the film, but Gypsy couldn’t have found a better time for a release, with the violence in UP and the violence against Muslims in Delhi. It also needs to be said that the visuals Raju Murugan goes for are coloured by a voyeuristic gaze that is dangerously close to sexual violence porn.

Yes, it is real, and yes, power and domination are expressed through sexual violation in these instances but visual grammar is not confined to just one kind. The second half of the film meanders all over the place – like its hero – as the story moves to Kerala.

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Jiiva hits all the right notes as the happy-go-lucky singer who loses everything he’s known in one night. It helps that Jiiva can switch between an urban accented English and street-smart Tamil with ease, for Gypsy is a character who has seen it all and grown up around different sects of people, including tourists.

Waheeda is in a state of PTSD after witnessing events of extreme violence during the riots, planned and orchestrated by Hindu organizations and the ruling political party. The film has its heart in the right place, it wants to point fingers at the masterminds and ideologues rather than their instruments (the raised hands of a Hindu fundamentalist who does their bidding is an interesting touch considering a big reveal later on), and calls for forgiveness and peace.

The film also forsakes Waheeda’s trauma to achieve its larger aim. She is reduced to a mere victim whose mental health is never considered by anybody, including Gypsy. That’s, of course, another film but it sticks out here because that too is as real as the violence she witnessed.

The  Gypsy review  is a Silverscreen India original article.  It was not paid for or commissioned by anyone associated with the film. Silverscreen India and its writers do not have any commercial relationship with movies that are reviewed on the site.

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‘Gypsy’ movie review: This Raju Murugan film leaves you in deep conflict

Jiiva is exceptional, having put his heart and soul into the character’s representation and portrayal, but as a whole, the film struggles to appeal to our collective.

Updated - March 05, 2020 05:23 pm IST

Published - March 05, 2020 04:52 pm IST

Jiiva and Natasha Singh in ‘Gypsy’

This Raju Murugan film is a curve ball.

It is hard to fathom Gypsy as a love story, especially after watching the original trailer (released last year). But it is what it is — a story of a man named Gypsy (Jiiva) whom Waheeda (Natasha Singh), the daughter of a Muslim man, Muthaleef (Lal Jose), who believes a woman’s agency is best placed in a man’s hands, falls in love with. Contemporary political scenarios affect their romantic journey and the filmmaker drops a message of social harmony into the package.

Gypsy is hard-hitting in parts. It is the kind of film that dares you to stare at the screen even as it kicks up a conflict and the feeling of guilt in your heart. But it is also an odd film because it leaves you conflicted about what to make of it. If love in the times of sectarian/casteist/politcal violence is the core of a movie, then there are better films that do justice to such a premise. Gypsy , in comparison, appears to be a collage of scenes that are wildly different from one another in terms of the emotion (some provoke you to hark back to it but none leave a deeply profound, thought provoking level of impact) it kicks up in the viewer.

Before getting into the details: besides Jiiva, the two real heroes of this film are Santhosh Narayanan for how his beats carry the ethos of the film from start to end, and Selvakumar SK, whose angles and frames are extraordinary in places.

The film begins in a fictional Kashmir valley. It is the sound that sets the mood: you are welcomed by the noise of automatic rifles firing at will, of bombs being dropped at a scenic location. We are then shown four people in a hideout desperately hanging onto their lives amid the violence (read as: war) — an inter-religious couple (the woman is offering the namaaz while the man is praying to the Hindu God Shiva), their just born son and a nomad. As the couple leave the hideout, they are killed and the child is orphaned. The nomad takes possession of the orphaned child and names him Gypsy.

The belittling of human lives in the name of all the divisive reasons under the Sun that human beings can conjure drives the narrative from this point on.

Gypsy travels the country with his adoptive father, who he calls Senior. He has no religion, no caste and no one language. Hence, he has no identity. In one of the earlier, poignant scenes, which sets up the film’s political premise, Senior tells Gypsy that having travelled the length and breadth of the country, he could tell the distance between Kashmir and Kanyakumari, but what he could not figure in his lifetime was the “distance between two human hearts”. When Senior passes away, Gypsy plants a sapling in his memory — how very meaningful, if only all those who passed were remembered as trees and not just on tombstones by their near and dear ones.

Gypsy ’s proclivity to force you into a rethink can be found in its dialogues; such lines are littered all across the film. When Gypsy and his nomadic troupe are held responsible for their horse (Che) attacking an Imam, he is asked: “Gypsy na... enna matham, enna jaathi?” (What is the religion and caste of a Gypsy?), and he responds, “ Matham pudikaatha manusha jaathi ” (Humans without religion).

It is a clever pun. ‘ Matham ’ here refers both to religion and insanity, easily interchangeable depending on the context.

Raju Murugan is a clever writer. Years of practice as a journalist helps, his characters are sweetly-layered. But his writing is not without flaws; the screenplay suffers courtesy a lack of refinement, and his characters are distinctly one-shaded in that they only resonate with the ideology they are used to. They lack the natural flavours of a human being. Case in point: when Hindu fundamentals strike at the doors of houses in an alley, as they go on a rampage killing hundreds of Muslims, they repeat, in almost a robotic fashion: “ Maar Dalo, Maar Dalo ”.

Other such instances of where weak writing comes to the fore is when the grown-up Gypsy meets Waheeda. The film slows down considerably, at this point.

It takes time to build their romance: nothing flashy, no over-the-top attempts by the cupid struck hero to woo his woman. It is precisely at this point that, as a viewer, you can be certain of Gypsy ’s ‘love story’ premise because until then, Raju Murugan shows a distinct eagerness to colour his screenplay using political commentary.

Jiiva in ‘Gypsy’

There is, however, one high point in the love track between Gypsy and Waheeda in the first half. If the Maruvaarthai Pesaathe song from last year’s Enai Noki Paayum Thota was an expression of a man’s boundless love for the woman, then Kaathellam Poo Manakka is just a beautifully-shot song, which has a man let the woman know why their love needs to push past the bounds imposed on them.

There are amateur scenes too, which does not fall under the “witty extrapolation” category. Like the scene where Gypsy is watching an India-Pakistan cricket match. He cheers for both India and Pakistan; it re-establishes what we have known since the start of the film that here is a man who is neither governed by religion nor is restricted by lines of control drawn by humans to separate themselves.

What we do not understand is how in the following shot, when he confronts an upset Waheeda, he proceeds to ask if the cause of her sadness is due to Pakistan’s poor performance (using the word ‘ungaalunga’). She retorts: “Neenga enna loosa? India than engaalunga” (Are you mad? Indians are our people).

With the benefit of hindsight, I will take it easy on Raju Murugan here and now. A secular society could look down upon a filmmaker for using such lines to drive home a subtle political message. But can I really say — with any shred of conviction — that what Gypsy asks Waheeda is out of context in the current political climate? I don’t think so. The rhetoric around people expressing an opposing view being branded anti-nationals, and being asked to (with the use of uncivilised language) “Go to Pakistan” on prime time news debates of all places, still happen.

Then, Waheeda decides to take a leap of faith. The significance of the ‘why did she do it’ is held together by this scene where Muthaleef meets with his future son-in-law. He runs a hotel where his mother cooks food for customers. She does not exit out from behind the curtain from where she cooks. He tells Muthaleef that Waheeda should come soon (read as: rush the marriage date) so that he can relieve his mother off the cooking duties. The two men talk; the woman is nowhere in the scene, we only get glimpses of her when the wind lifts the curtain to reveal her presence.

Muthaleef’s fundamentalist ideals are further represented in a later scene when he forces his community’s religious heads to formalise Waheeda’s separation from Gypsy. When Gypsy insists that he won’t agree to the separation until Waheeda says so, Muthaleef responds with something along the lines of: ‘What has a woman got to say after the men have come together to make the good decision?’

The women in Muthaleef’s universe ought to be chained to their patriarchy-enforced responsibilities, and it is precisely these chains that Waheeda chooses to rid herself off, when she asks Gypsy to take her on a ride atop his horse, the night previous to her nikah — “for a little distance”, she says; “a little further”, she adds; before she asks him to take her away for good. Gypsy doesn’t say a word. He takes her with him; to show her the world she had been boxed away from, the world that she longed to see, know and experience, away from the rigidity of organised religion’s fundamentalist shackles.

And then Leaderji happens.

Now, if you haven’t already watched the “censor cut” clips the film’s production team has made available on YouTube, with an explainer at the start as to why these scenes were demanded to be removed by the Central Board of Film Certification, go watch it. Not that it would enhance your experience of watching Gypsy, but it does lead one to wonder could Raju Murugan really have been hampered by the demand for unrealistic cuts, crippling his visualisation of how the script ought to have been presented on the big screen?

I felt that there is little evidence of jarring, obnoxious cuts in the film’s certified version. But neither the production team nor Raju Murugan never came out clean on the extent of cuts demanded; what we knew was that there was a dispute in terms of what was deemed objectionable representation by the certifying authority and what Raju Murugan thought was fair representation.

As a result of the dispute, we do not see the colour saffron anywhere in the film except for when right wing fundamentalist characters sport them as tilak. The violence, the bloodshed and goriness all take place in a world hued different using the Inkwell filter from Instagram, which is a shame considering how brutally upsetting it is. Raju Murugan incorporates Bilkis Bano, Mohammed Akhlaq and the many faces who we seldom remember in the aftermath of riots. The rioting sequence is jarring considering how they do not look out of place, especially after the events in Delhi over the last couple of weeks. There is no aesthetic about it; riots are dirty, it is abhorrent, especially when the inciting cause is religion, a rhetoric of ‘Us versus Them’.

That is exactly what Leaderji does clad in his hued-out-of-meaning-and-context saffron robes, standing near the Ganges bank in a fictional North Indian town that eerily rhymes with Allahabad (I’m giving the benefit of doubt to Raju Murugan, his script and dialogues easily pre-dates Prayagraj’s period of existence). But we see little of Leaderji; actually we see nothing of him, the scene I mention above is from the censor cut (his likeness and appearance has been cut right out of every single frame in the film, we only hear him in voice-over capacity), but we do see his evil lieutenant, the man who believes he is tasked with the responsibility of upholding “morals”, and of the fight to restore the “natural order of things” with respect to minority communities’ existence in their midst.

Then, there is Sonu Kumar (whose name seems to have been changed, judging by the dub). He becomes the face of religious hatred and majoritarian violence in Gypsy, not too dissimilar to the gunman who fired at protesting JNU students a little over a month ago in Delhi. The imagery of him standing with arms raised, wielding a sword, and having a pregnant Waheeda at his mercy as the merciless assailants around him chant, “ Maar Dalo ” is as chilling and spine-tingling as it is recent.

What unfolds as a result of the riots, and how it affects Gypsy’s love life forms the rest of the plot.

It is this latter half of the journey that makes a viewer feel distant about Gypsy , allowing one to only enjoy it in parts and not in its entirety. As a whole, the film struggles to appeal to our collective, to call us out on our bigotry and to remind us of the consequences of keeping our maun vrat in an hour of need. It confronts one political ideology head on, but Gypsy ’s premise as a love story unfolding in the backdrop of a radically right wing fundamentalist political climate needed more juice. It lacks in the department of hard-hitting moments, like a Joker did.

Perhaps that is what making a film with an established hero entails, although credit where it is due, Jiiva is exceptional as Gypsy. He seems to have put his heart and soul into the character’s representation and portrayal. It ought to be said that the script seldom pushes the actor beyond his comfort zone. It is as if Raju Murugan imagined Kavalai Vendam Jiiva growing out long hair, sporting nomadic clothes and carrying a custom-made guitar around with a horse for company.

In other words, Gypsy is no Joker . There is no single superlative performance (like Guru Somasundaram in the latter). There is no isolated defining moment that strips nude the frivolous nature of the life and times we live in (like the death of a wife for want of a proper toilet). There is no impact after the event.

Raju Murugan, it would seem so, is less likely to not be crucified at the altar of his National Award-winning sophomore film. Gypsy is no Joker but a gypsy is who we could all aspire to be, if not for the jokers ruining it for us.

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GYPSY MOVIE REVIEW CLICK TO RATE THE MOVIE

Gypsy is a political romantic drama that has Jiiva and Natasha Singh in the lead roles. The film is written and directed by Raju Murugan and is produced by S. Ambethkumar under the banner, Olympia Movies. Gypsy has music by Santhosh Narayanan and cinematography by SK Selvakumar.

At the outset, Gypsy might come across as an ambitious political film, but the film is more about the love between Gypsy (Jiiva) and Waheeda (Natasha Singh). Orphaned at a young age, Gypsy is raised by a character named Senior. One day Senior dies and Gypsy is left with his horse Che, which is when he meets Waheeda and falls in love with her. They both elope and marry but a communal riot separates them. How they manage to unite forms the rest of the plot.

It is well known that Raju Murugan is not just a fantastic filmmaker but also a brilliant writer and that characterestic is evident throughout the film. Let's start with the characterization of Gypsy. He's not just a traveller but also a singer. This gives a lot of scope for songs in the film and Santhosh Narayanan makes use of this opportunity to showcase his mettle.

Although Natasha doesn't have much to speak, her character is a vital cog in what the film tries to achieve. When she runs out of her house, it's the hero who saves her. She liberates herself and makes her own choices throughout the film despite being from a conservative Muslim family. The film deftly avoids the male saviour syndrome.

Gypsy took a long time to release, and that's where the film's issues lie. From the time the film's production started, a lot of movies with similar messages have been released, which might make Gypsy seem a bit outdated. The treatment is also slightly off because every scene is packed with heavy elements. It takes a strong heart to witness the interval block and the scene before the climax.

In most of the scenes involving Natasha, Selvakumar's frames create a feeling of being trapped along with her. The way the communal riots are shot deserves praise, especially when the scenes are required to hide certain colours owing to censor cuts. The VFX looks patchy in those portions, but the messages trumps the flaws. The placement of the song 'Venpura' too deserves a lot of praise.

Gypsy is Jiiva's best performance in recent times and it's a delight to see an underrated actor like him score and carry the film forward. The supporting cast consisting of Sunny Wayne and Lal Jose and the character who plays Senior, stand out. In the scene where Senior dies, Gypsy doesn't check his pulse or breath, but places his head on Senior's heart to check for the heartbeat. Similarly, the film too appeals to your heart and pricks your conscience. It doesn't villainize anyone but instead makes its villains a victim of the system in place. It also makes a war cry for peace by including various art forms  like Graffiti, band performances, posters and more.

Overall, Gypsy ends up as one of the strongest films in the recent past. The message it hopes to drive is strong and more than relevant to the current situation. It extends a hand to the victims of the system and celebrates the feeling of being human. If at all art has the power to change minds, Gypsy is the artist. 

BEHINDWOODS REVIEW BOARD RATING

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REVIEW RATING EXPLANATION

பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

GYPSY NEWS STORIES

Happy news: Director Raju Murugan blessed with a baby! 

Wow! Not now, Santhosh Narayanan composed this latest catchy song 18 years ago! 

ராஜூ முருகன் கூட்டணியில் உருவான ஜிப்ஸி பட வீடியோ சாங் இதோ

ராஜூ முருகன் மற்றும் ஜீவாவின் ஜிப்ஸி - மூனே நாளில் ஒட்டு மொத்த தமிழ்நாடு வசூல் இவ்வளவா ?

Gypsy related news stories.

• Gypsy, Joker and Cuckoo director Raju Murugan blessed with a baby
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Gypsy movie review: Strong ideology in a not-so-strong film

Rating: ( 3 / 5).

The passion in Raju Murugan’s voice is palpable. You can see he  really  cares. He  really  wants to mount resistance against a cartload of issues: Rightwing extremism, suppression of women, religious fundamentalism, hate politics, food politics, caste oppression, patriarchy… Gypsy has every single one of these issues crammed into it with differing periods of focus, when each of these issues are potent enough to be the singular focus of an entire feature film. Given the film’s ambition to cover a range of national issues, it almost feels like a writer moving from one paragraph to another as he makes long leaps between issues to take down. The problem here, of course, is marrying such forceful writing into a story that engages and affects. This is where Gypsy falters. Of course, it’s anybody’s guess how much of the film’s jerky shifts are a consequence of the censor board’s seemingly disproportionate wrath. Despite all the well-known delays the film has been subjected to, it’s almost frightening how relevant the film is today, and the issues it delves on: Hindu-Muslim conflict, right-wing extremism, foot soldiers being manipulated by politicians, orchestrated riots… For having the gall to take on such issues, I feel quite a bit of fondness for Gypsy and its maker.

Director: Raju Murugan

Cast: Jiiva, Natasha Singh, Sunny Wayne, Lal Jose

The eponymous hero of this film, Gypsy (Jiiva), is a unique Tamil cinema character. He is, as the name indicates, a gypsy, whose nomadic existence takes him across the country. You could argue that Gypsy is posited as the ideal man by this film. He’s a man without a last name, without a religion or caste. He speaks several languages and can do many jobs. Perhaps because society and its humans can scarcely understand him, his closest friend is a horse named Che (no points for making the evident connection to that over-romanticised Cuban revolutionary, Che Guevara). Guevara’s name and his photograph have, today, been turned into symbols of uprising, with pop culture understanding of him conveniently neglecting his many far-from-ideal actions. I briefly touch upon symbolism here because this is a film that shows quite a bit of understanding about how symbols work. You can see this through posters of Gypsy’s concert. More importantly, you can see this through two photographs from a riot coming to be seen as symbols of oppression. A victim, Waheeda (Natasha Singh) begs in fright, while the assailant bears over her with a weapon, thriving in his power. Gypsy digs further into these two characters, and tries to understand the people they are, and how the aftermath of such a riot would work out for them. It’s fascinating that the film gets into these spaces.

The film also, through its lead woman character, Waheeda, shows how religion and patriarchy combine to asphyxiate women. Waheeda’s father (Lal Jose), a devout Muslim, is a sexist. And despite this man’s misgivings, the film resists the temptation to paint him as an evil caricature. This is a man who believes in his fundamentalist interpretation of his religious text and is the sort to have Gypsy tied to a tree. He’s also the sort to move on quickly and invite him to his daughter’s wedding. However, the film makes it abundantly clear that his household, his way of life, is a prison for women. Women barely talk, can barely laugh. When Waheeda is seen to be a bit too evidently happy, her father makes plans to get her married. Something about her momentary joy threatens his sense of authority. Marriage, here, is another form of enslavement. You see this when Waheeda’s fiance has his mother slaving away, and he says he’s marrying in the hope that his wife can replace his mother. What does Waheeda want? Nobody cares. When did prisoners get a say anyway?

Raju Murugan makes this visually clear with a shot of Waheeda standing behind a gate with bars, and the prison imagery is complete. She peeks through the bars at Gypsy’s liberated life, and finally, muster the will power to open the gate. She tentatively steps into his world, and out of her prison, for the first time. It’s beautiful when eventually, she’s able to muster a smile, a laugh, words, a dance… This woman, who’d never as much been allowed to lift her head and look men in the eye. I wish Gypsy had been a more focussed love story.

This film’s love story, however, is merely a tool with which to try and take on the big, bad system. While on the romance, I still found it slightly disconcerting when Gypsy’s foster father keeps insisting that should he find ‘the one’—“the girl designed for every person”—he should never let go; that he should hold on and keep pursuing. It’s the same sort of problematic advice given by Nagesh to Dhanush in Kadhal Kondein . I think it’s a restrictive way of looking at relationships and at best, is naïve in its simplicity.

I loved the film’s music—its songs, its BGM. Santhosh Narayanan’s music is at the heart of this film, powering it with thumping beats of protest and electrifying guitar riffs of resistance. Some of the film’s strongest portions, involving the call for a revolution towards the end, almost feel like a music video. It’s a call to end ‘ theevira vyaadhi ’. British Indian musician Susheela Raman makes a cameo, and gets the space to perform a track or two. Malayalam actor Sunny Wayne is quite powerful in the role of a communist leader who shows that it’s only with the power of numbers, with an organised resistance, that you can hope to fight being victimised by the forces at large. The scene in which Gypsy relieves himself at a police station is a statement by itself, much like that line he says towards the end: “With all your guys and bullets, you can’t do sh**.”

The film has its moments, no doubt. But you can’t shake off the feeling that it’s biting way more than it can chew. It’s a film that denounces religion with its protagonist (Neitzsche said, “God is dead”, while as Susheela Raman sings, the background text reads, “Where is God?”), but then again, it’s also a film that tries very had to establish it’s not biased against any one religion. Gypsy’s foster father, in talking about his jobs, covers the mosque, church, and the gurudwara. Gypsy, in talking about the losses he has suffered, covers both Hindu and Muslim extremism. After a point, this careful neutrality begins to seem like a tedious exercise.

With almost every scene, Raju Murugan’s looking to make a social point. Take even the name Gypsy bestows on his daughter: Ven Pura. We get it, it’s a symbol of peace and ties in nicely with the theme of the film. But does it also feel contrived? Unfortunately, yes. Gypsy , in its present censor-mutilated form I imagine, is less an affecting feature film with finesse and more a bunch of super-relevant snapshots that attack the country’s subjugating forces. A better film may have helped ignite stronger fires, but hey, what do I know? If Draupadhi can do so well…

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Gypsy movie review: Jiiva's film oscillates between hard-hitting social commentary and a romantic musical

Gypsy, a movie about religion and tolerance, comes at an opportune time

Language: Tamil

Gypsy , a movie about religion and tolerance, comes at an opportune time, when the nation has just witnessed one of the most bitter communal riots of the last few years, that has left over 40 dead and hundreds injured. The Raju Murugan film has been in a long battle with the censors, but finally released on 6 March. It explores the question of whether religion can ever be separated from politics, especially in India. Murugun has shot the film in various parts of the country, from Kashmir to Varanasi, Goa, and Kerala, and the film has some stunning visuals and soothing music.

The hero of the film, called Gypsy (Jiiva), does not belong to a particular religion, language, area or caste. Instead, he is a singer who moves around the country, in a nomadic style, with his performing white horse, Che (the director’s ode to Che Guevara). They perform in various temples, churches, and mosques across India. Gypsy, who can speak in multiple languages, likes his freedom and wants to “fly like a free bird”.

While travelling, Gypsy reaches Nagore in southern Tamil Nadu, a predominantly Muslim area. This is where he meets Waheeda (Natasha Singh). To Waheeda, Gypsy represents ‘freedom’ that she is denied by her fundamentalist father and local Jamath strongman Muthalippu (Malayalam director Lal Jose in a cameo). It is how they get together and how their lives are thrown apart by ongoing communal riots, and the hatred and distrust between the two religions, that makes up the crux of the movie.

Jiiva, as Gypsy, is stunning and has put in a lot of effort to make the character look convincing. He shines in this difficult non-conventional role. Natasha Singh as Waheeda is lovely and expressive. Lal Jose has delivered a gripping performance as the anguished fundamentalist. Sunny Wayne as the communist district secretary is aptly cast. The music of Santosh Narayanan is vibrant and interesting.

However, the cuts by the censors weaken the movie, making it lose impact. The riot scenes have been toned down and visually the portions have been made black and white which is jarring. To combat the censors, Murugun has even released two of the chopped scenes on YouTube but is let down by a weak script that lacks depth.

Gypsy  suffers due to the cuts, losing its relevance. Murugun, who in the past, has made award-winning movies like Joker,  seems to be undecided here on what tone to take and what movie he wants to make: a hard-hitting social commentary or a romantic musical.

Rating: ***

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A young man travels across India and learns about nation-wide politics. He then decides to do something about it. A young man travels across India and learns about nation-wide politics. He then decides to do something about it. A young man travels across India and learns about nation-wide politics. He then decides to do something about it.

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Gypsy Movie Review: Raju Murugan’s Rambling Drama With Jiiva Mistakes Good Intentions For Good Cinema

Director: Raju Murugan

Cast: Jiiva , Natasha Singh

Raju Murugan makes noble-minded films, so it's really no surprise that Gypsy is filled with noble-minded songs. In 'Venpuraa', we get this line: Idhayam thaandi iraivan illai… (There's no god beyond the human heart, beyond humanity.) 'Kaathellam Poo Manakka' says: Vendaamae oorgal / Vendaamae paergal . (Let's forget geographical boundaries. Let's forget the names that identify and separate us.) A Hindi song tells us: Jaat-paat aur bhed-bhaav ke chaar deewarein todenge . (We will break down the walls of caste and discrimination.) None of these lines is as elegant as what the Kannadasan-era lyricists used to write in their thathuva paadalgal (philosophical songs) — but at least, these philosophies sit easy in a song, easier than they'd sit in dialogue.

Now consider this line spoken by a Hindutva-espousing politician in the film, during a riot where Muslims are being massacred: Oruthanoda ratham dhaan innoruthanukku vetri thilakam. Idhu dhaan rajaneedhi. (One man's blood is another man's tilak.) I doubt this purple-prose philosophy would sit well even in a song, but as dialogue, it's a disaster. The line belongs in a historical play made in the 1950s, but then, one could argue that Raju Murugan's sensibilities are equally old-fashioned. His intentions are worthy, but he has no instincts for cinema. He is a prosaic man striving to make poetry on screen, and the effort shows. Oh, it shows.

Take the scene where a nomad named Gypsy (Jiiva) sees Waheeda (a stiff newcomer  named Natasha Singh) weeping. He tells her not to worry. " Unga aalunga dhaan jeyipaanga !" (Your people will win.) He's referring to the Pakistani cricket team, which is playing a match against India. Waheeda is upset at the insulting implication about Muslims. She says she belongs to India. This is the level of writing in the film. What makes it worse is the fact that, just a few minutes earlier, we have seen Gypsy declare that all religions seem the same to him. But then, this scene is not about Gypsy and Waheeda. This scene is really about Raju Murugan, who wants to make this point. The film is full of Raju Murugan making his points.

Within the first few scenes, a manual scavenger is rescued from drowning in a manhole, the Cauvery issue comes up, the Hindu-Muslim divide comes up… The film slowly begins to resemble a newspaper, with each page containing one "socially important" story (or the same page, sometimes, containing several such stories). But screenplays don't work that way. You need a thread. You need coherence. Even if you are using your story as just a clothesline on which to hang your ideology, you need to spin that story with some amount of dramatic conviction.

What's the story? I think it's this: Gypsy wants to live life as free as a bird, roaming the country and singing for his supper. But when he falls for Waheeda, he finds he has to "settle down". And in settling down, he gets sucked into the manmade world, made of hate and religion and whatnot. This premise gives the director free rein to unleash his Communist ideology. Marx is invoked. Safdar Hashmi's "Halla Bol" is invoked. Castro's "Ideas do not need weapons" is invoked. Guevara is invoked… through a white horse named Che. Simple question about this kind of moviemaking: Yay or neigh?

Let's put this question differently. A message is formless. It's essentially a thought. This thought can be expressed through several means. You can translate the thought into a poem. You can expand it into an essay. You can make it a song, a staged play, a movie… So what is important? The thought itself, or the medium you are using to convey that thought? Even if you say "both", shouldn't the requirements of the chosen medium be fulfilled? Raju Murugan is an excellent journalist. But when we walk into a theatre, wouldn't we rather have an excellent filmmaker?

I have a related question. Can message-driven cinema really change the world? Or even one person? But I don't want to get into that now. Gypsy is so straightforward, so earnest, so consumed by the "importance" of the issues it raises that it forgets to be cinema. There are some flashy attempts at "filmmaking". The riot is shown in black-and-white. When Gypsy goes searching for Waheeda after the riot, the shots are intercut with pop singer Susheela Raman in her neon-lit studio, wailing ' Aasai Mugam Marandhu Poche' . Yes, the Bharati poem does fit the situation, but the stylisation is so extreme and so distracting that little of the emotion in the words comes through from the images on screen.

Joker was filled with a lot of messaging, too — so why did that film work to an extent? For one, the issues were solidly dramatised, folded into the events that unfold around the protagonist. But more importantly, the man was like a mad prophet. He staged protests against everything he felt was wrong, and this "eccentricity" lent itself beautifully to the issues being spoken about. It grounded the noble-mindedness, made it more human and bearable. But in Gypsy , the director wants to make an epic — with thunderous melodrama. The writing (and the staging, like a school play) reduces all characters to cardboard-cutout mouthpieces for ideology, with barely a human moment to cling on to.

The few human moments, when they come, show what Gypsy could have been had it been about people instead of placards. There's a small moment, just after meeting Gypsy, where Waheeda sits in front of a mirror and applies lipstick and smiles. She's been brought up in a very orthodox household, and for a second, you see her transforming from a pliant daughter to a woman. Another human moment: after eloping with Gypsy, she tells him they should get married. He asks why. "We are living together, right?" This lifestyle is normal for Gypsy, but I was wondering what a huge adjustment it must have been for Waheeda. In short, the political becomes more personal when we enter it through well-defined people. But then, Gypsy is only after checking off one political box after another. (It even manages to squeeze in triple talaq .) If good intentions were enough to make good cinema, Gypsy would be a masterpiece.

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Gypsy Review : காதல், மனித நேயம், சாதி அரசியல் பேசும் ‘ஜிப்ஸி’

படத்தின் பல்வேறு காட்சிகளை சென்சார் போர்டு கட் செய்து விட்ட நிலையில், அந்தக் காட்சிகள் யூ-ட்யூபில் வெளியாகி பெரும் வரவேற்பைப் பெற்றன..

gypsy review rating, jiiva, natasha singh

Gypsy Tamil Movie Review : 'ஜோக்கர்’ படத்தைத் தொடர்ந்து இயக்குநர் ராஜூ முருகன், ‘ஜிப்ஸி’ படத்தை இயக்கியிருக்கிறார். டைட்டில் ரோலில் நடிகர் ஜீவா நடிக்க, அவருக்கு ஜோடியாக நடாஷா சிங் நடித்துள்ளார். சந்தோஷ் நாராயணன் இசையமைத்துள்ள இந்தப் படத்தை ஒலிம்பியா மூவிஸ் சார்பில் அம்பேத்குமார் தயாரித்துள்ளார். சாலை பயணத்தில் உருவாகும் காதல், அதிலிருக்கும் சமூகப் பார்வை ஆகியவற்றை முன்னிலைப்படுத்தி இப்படம் இயக்கப்பட்டுள்ளது.

Gypsy Tamil Movie Review and Rating இன்று வெளியாகியிருக்கும் ‘ஜிப்ஸி’ திரைப்படத்தின் ஆன்லைன் விமர்சனங்களையும், படம் குறித்த மற்ற தகவல்களையும் இங்கே தெரிந்துக் கொள்ளுங்கள்

14:58 (IST) 06 Mar 2020

ஜிப்ஸியும், வஹீதாவும் பல வழிபாட்டுதளங்களுக்கு செல்கிறார்கள். இதன் மூலம் மனிதம் மட்டுமே புனிதம் என்பதை உணர்த்த முயற்சி செய்திருக்கிறார் ராஜுமுருகன்.

14:47 (IST) 06 Mar 2020

அமைதி, அன்பு, மனிதத்திற்கான படம் என இவர் குறிப்பிட்டுள்ளார். 

#Gypsy for peace , love , humanity Manitham thanks punitham illai vaa. Such a great script Naa. Have a guts to do a movie like this 😍 @JiivaOfficial @iamnatashasingh your travel along with Gypsy mesmerized 😍 @Dir_Rajumurugan social message 😍 — Sree Nandhu ツ (@nandhusnv) March 6, 2020

13:54 (IST) 06 Mar 2020

ஜிப்ஸி திரைப்படம் முதல் பாதி காதலுக்காக என இவர் குறிப்பிட்டுள்ளார்

#Gypsy First half.all for love 😍 too good visual takes you to somewhere! @JiivaOfficial @iamnatashasingh @OlympiaMovies @Dir_Rajumurugan pic.twitter.com/tAPYB78dxr — Sree Nandhu ツ (@nandhusnv) March 6, 2020

13:03 (IST) 06 Mar 2020

”நமது நாட்டு அரசியலும் மதமும் எவ்வாறு ஒன்றோடொன்று இணைக்கப்பட்டுள்ளன என்பது குறித்து சமூகத்திற்கு ஒரு முக்கியமான செய்தியை தெரிவிக்கிறது" என இவர் குறிப்பிட்டுள்ளார். 

#Gypsy conveys an important message to the society regarding how our country politics and religions are interconnected with quite engaging first half and dragging second half with good music and bold dialogues related with current scenenario. — Sathish Kumar M (@sathishmsk) March 6, 2020

12:32 (IST) 06 Mar 2020

சென்சாரில் நீக்கப்பட்ட காட்சிகளை யூடியூபில் வெளியிட்டது குற்றமா என எனக்குத் தெரியாது..சென்சாரில் நீக்கப்பட்ட காட்சிகளையும் சேர்த்து முழுநீளத் திரைப்படத்தை டிஜிட்டலில் வெளியிடுவோம்..சென்சார் போர்டில் அரசியல் கட்சியைச் சார்ந்த நபர்கள் இருக்கக் கூடாது.. ~ராஜுமுருகன் 🔥 #Gypsy 😍🔥 — தோழர் ஆதி 😎🔥 (@RjAadhi2point0) March 4, 2020

12:08 (IST) 06 Mar 2020

ஜிப்ஸி கதையை முதலில் தனுஷிடம் தெரிவித்ததாகவும், அவரின் பிஸி ஷெட்யூலால், நடிக்க முடியவில்லை எனவும் இயக்குநர் ராஜு முருகன் தெரிவித்திருந்தார். தற்போது ஜிப்ஸி படத்துக்கு தங்களது வாழ்த்துகளைக் கூறி வருகிறார்கள் தனுஷ் ரசிகர்கள். 

#Gypsy preversion @dhanushkraja kitta sonnan, avarukku romba pudichudhu 😍 But due to his busy schedules, avaru kuda padam panna mudila 😑 On behalf of @dhanushkraja fans, best wishes for #Gypsy to become a blockbuster ❤️ #JagameThandhiram #Karnan pic.twitter.com/7kNTAsr8uD — KANCHI_Dist_Official_DFC (@KanchiDistDFC) March 6, 2020

11:38 (IST) 06 Mar 2020

சென்சாரில் கட்டான ‘ஜிப்ஸி’ படத்தின் காட்சி யூ-ட்யூபில் வெளியானது

11:28 (IST) 06 Mar 2020

கோயம்பத்தூரில் இன்னும் படம் ரிலீஸ் ஆகவில்லை என அங்குள்ள ரசிகர் ஒருவர் தெரிவித்துள்ளார். 

@JiivaOfficial Now i'm in senthilkumaran theatre@kovai show time 10.30am but movie not release covai circle #Gypsy pic.twitter.com/tKGuF9lLM0 — கோயமுத்தூர்🌾கோமாளி😇🙋🏻‍♂ (@ARunS31809470) March 6, 2020

11:18 (IST) 06 Mar 2020

லேசான காதல் கடினமான உண்மையை சந்திக்கிறது. ஜீவாவின் லுக்கும், பெர்ஃபார்மென்ஸூம் ரொம்பவும் பிடித்திருக்கிறது என மறைந்த மூத்த நடிகர், எம்.ஆர்.ராதாவின் பேரன் ஐகே ராதா கூறியுள்ளார். 

#Gypsy light hearted romance meets hard hitting truth ! Love the look and performance 👏🏻misterrrr @JiivaOfficial ! Watch it in a theatre near you #bigscreenexperience pic.twitter.com/lDANmBziNZ — ike radha (@thenameisike) March 5, 2020

11:05 (IST) 06 Mar 2020

சமகால அரசியலை மையப்படுத்தி, நிஜ போராளிகளை வைத்து எடுக்கப்பட்ட இந்த ’வெரி வெரி பேட்’ பாடல் ரசிகர்களிடம் மாபெரும் வரவேற்பைப் பெற்றது. இந்தப் பாடலை 2.3 மில்லியனுக்கும் அதிகமானவர்கள் யூ-ட்யூபில் பார்த்திருக்கிறார்கள். 

10:57 (IST) 06 Mar 2020

பயணம், காதல் மற்றும் வாழ்க்கை பற்றிய ஒரு கதை வலுவான அரசியல் சாயல்களில் பயணித்து இடைவெளிக்குப் பிறகு வன்முறையாக மாறுகிறது என இவர் தெரிவித்துள்ளார். 

#Gypsy 1st half - Fantastic visuals from across the country, by Dop SelvakumarSK @Music_Santhosh 's melodies - #Desaandhiri & #KaathellamPooManakka work even better onscreen A story about travel, love & life takes strong political hues & turns violent towards the interval — Kaushik LM (@LMKMovieManiac) March 4, 2020

10:55 (IST) 06 Mar 2020

சந்தோஷ் நாராயாணன் இசையில் ‘காத்தோடு பூ மணக்க’ எனும் ‘ஜிப்ஸி’ பாடல் பலரின் ஃபேவரிட் பாடலாக இடம்பிடித்துள்ளது. 

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Gypsy Movie Review: Gypsy Movie Review Jiiva

• 12 Mar 2020
• Release Date: 06 Mar 2020

Gypsy Movie Cast & Crew

After clearing all the hurdles in the censors, Jiiva's Gypsy is finally out for release. This political romantic drama showed great potential with its promotional videos and it also had a curiosity factor. How has the film fared? Read on to know. Gypsy (Jiiva) is a carefree youngster who travels along with Che, his pet horse, around the country for his livelihood. During one such visit to Nagoor in Tamil Nadu, he comes across Waheeda (Natasha Singh), an orthodox Muslim girl and falls for her at first sight. Waheeda sneaks out from her house and escapes from her (already arranged) wedding with the help of Gypsy and eventually falls in love with him during their travel. Later, they get married and settle down in a small part of Uttar Pradesh. Things turn ugly and tragic when violent communal riots separate Gypsy from Waheeda. What is the fate of the couple and what impact did the communal riots have on their lives, forms the rest of the plot. Jiiva is full of energy throughout the film and he breathes life to the character of Gypsy. He delivers his best and it is glad to see the potential actor inside him come out after a long time. Jiiva's commitment to that character is evident through his performance and it is one of the major positives of the film. Natasha Singh seems to be a good find and she adapts neatly to the character of an orthodox Muslim girl. However, her lip sync had issues and it is a worry. Special shoutout to Che, the super energetic horse and he is very impressive. Che is a show-stealer and his bromance with Jiiva works very well. Malayalam actor Sunny Wayne isn't put to good use. Lal Jose, who played Natasha Singh's father, was impressive. Other supporting actors don't leave a lasting impact. Director Raju Murugan has got a very intriguing story that has the potential to be explored deeply with intensity. The story definitely holds a curiosity factor and it makes you invest in the film. Right from the first scene, the film grabs your attention and that has been maintained until the end. The dialogues are meaningfully written and quite a lot of work has gone into it. The political dialogues and the references add more authenticity and it has the potential to connect with the audiences. Gypsy has a noble message that is needed in today's scenario, especially with all the CAA, NRC protests happening around the country. Probably, in that way, the delayed release has helped the film. Kudos to the entire team for executing the communal riot sequence that leaves an impact. Gypsy is more of a love story that is set in a political backdrop, something that we haven't seen in the last few years. On the flipside, the emotional quotient doesn't hit you and you don't feel the completeness while coming out of the theatre. Waheeda's love for Gypsy isn't established properly and because of that, you don't feel empathetic towards them or their love. Also, the film takes a lot of time to get into the story and things get intense and interesting only from the pre-interval sequence. The film has a very good premise, well-written dialogues, convincing performances, strong technical backing, but where it falters is the treatment. The second half falls flat and the proceedings don't engage the audience much. What could have come out as another version of Mani Ratnam's classic, Bombay, falls short because of the treatment and packaging. There is this one scene in the second half where people come forward and face the gun to save the life of Sonu Kumar. That was one well-written and executed scene and one could just wish that, there were more of it. The scenes could have been arranged in an even more engaging fashion and that would have made Gypsy a compelling watch. Since the film's major portions happen in North India and Kozhikode, the Tamil dubbing looks odd and it alienates the audience from connecting with the characters and the emotion. Also, unfortunately, the film has been butchered by the censor board and the rawness and intensity of the film is reduced due to that.  Music director Santhosh Narayanan and cinematographer Selvakumar are the major assets of Gypsy. Being a musically driven film, the emotions are beautifully uplifted through SaNa's background score and similarly, he adds tension to the riot sequences as well. DoP Selvakumar captures scenic locations at its best through his lens and the compositions are confined and neat. The geographies are established well through his visuals. Raymond Derrick's editing transitions are neat and it helps the flow of the film.

Verdict: Very good intent and a promising story, but doesn't give a completeness as a film!

Galatta Rating: ( 2.5 /5.0 )

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Gypsy Tamil Movie

Gypsy is a 2020 Indian movie directed by Raju Murugan starring Jiiva, Natasha Singh, Sunny Wayne and Lal Jose. The feature film is produced by S Ambedkumar and the music composed by Santhosh Narayanan.

Director: Raju Murugan Producer: S Ambedkumar Music Director: Santhosh Narayanan Song Lyrics Writer: Yugabharathi Cinematographer: Selvakumar S K Editor: Raymond Derrick Crasta Art Designer: Balachandar Action Choregrapher: Dinesh Subbarayan

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Gypsy movie review: Jiiva's performance overpowers the weak direction by Raju Murugan

Gypsy movie review and rating [2.5/5]: Jiiva and Natasha Singh-starrer Gypsy has hit the big screens today. While Jiiva delivers a strong performance, the direction falters in many places.

Jiiva and Natasha Singh’s Gypsy has its heart in the right place but suffers from a poor screenplay and direction. The first half of the movie is a mix of romance and tragedy but the second half lacks structure. What comes across as a movie that promotes peace in times of disturbance over religious propaganda is just another love story. The movie starts with the death of Gypsy’s, played by Jiiva, parents. A travelling hippie raises him along with a horse. They travel the country, make friends and acquaintances and have basic survival skills that will keep them out of trouble, unless he meets Waheeda, played by Natasha Singh.

Since Gypsy is a hippie who knows and understands every religion he has come across, he is left clueless when people ask him which religion he belongs to. He gets beaten up and frowned upon when he says that he belongs to mankind. While the first half keeps you glued to the screen most of the times, the second half disappoints you. The director, Raju Murugan, stresses on communal violence, Gypsy’s love story and Waheeda’s mental health.

The transition between these three story lines is messy, haphazard and makes you wish for a better ending, or rather a better second half. The sub-plots are not left incomplete but they seem incomplete. The director also gives you a trip to the politics involved that causes riots and how it affects relationships but the execution leaves you disappointed.

Jiiva and Natasha’s performance, however, is top notch and they share a wonderful chemistry on the big screen. Had the screenplay been strong enough, this would have probably been one of Jiiva’s best films of his career. Santhosh Narayanan’s music score is one of the positive things about the film, except for the rendition of ‘Aasai Mugam Marandu Poche’.

Overall, Gypsy manages to entertain in the first half but fails to keep up after the interval. However, Jiiva and Natasha’s performance along with the songs in the film make this a one-time watch.

Gypsy Movie Rating: 2.5/5

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Frequently Asked Questions (FAQs) About Gypsy

In this Gypsy film, Jeeva , Natasha Singh played the primary leads.

The Gypsy was released in theaters on 06 Mar 2020.

The Gypsy was directed by Raju Murugan

Movies like Maharaja , Garudan , Suriya 44 and others in a similar vein had the same genre but quite different stories.

The soundtracks and background music were composed by Santhosh Narayanan for the movie Gypsy.

The cinematography for Gypsy was shot by Selvakumar SK .

You can watch the Gypsy movie on Zee5,.

On 17 Jul 2020 Gypsy was released on the Zee5, platform.

The movie Gypsy belonged to the Drama,Romance,Social, genre.

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Gypsy ( A ) 06/Mar/2020 Comedy, Drama 2hrs 29mins

Critics: 12 Panel: 0 User: 232

Overall: 3.7 from 244 users

Synopsis/Plot : Gypsy is an upcoming Indian Tamil-language romantic road movie written and directed by Raju Murugan. The film stars Jiiva, Natasha Singh, Lal Jose, Sunny Wayne and Susheela Raman.

Director : Rajumurugan

Music Director : Santhosh Narayanan

Cast More Cast & Crew (5)

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Critics Review All critic Reviews(12)

Citizen of the world.

An extremely important message at this point of time but Gypsy falls short of creating an emotional impact. (more)

Source: Bharath Vijayakumar, MovieCrow

Gypsy ends up as a good watch with a strong and relevant message, backed by mighty performances and impressive music.

Gypsy ends up as one of the strongest films in the recent past. The message it hopes to drive is strong and more than relevant to the current situation. It extends a hand to the victims of the system and celebrates the feeling of being human. If at all art has the power to change minds, Gypsy is the... (more)

Source: Behindwoods Review Board, Behindwoods.com

Jiiva's film oscillates between hard-hitting social commentary and a romantic musical

Gypsy suffers due to the cuts, losing its relevance. Murugun, who in the past, has made award-winning movies like Joker, seems to be undecided here on what tone to take and what movie he wants to make: a hard-hitting social commentary or a romantic musical. (more)

Source: Sreedhar Pillai, Firstpost.com

A well-intended film let down by writing and the censors

Even rallies and riots are leeched of colour visually � a stark contrast to the highly saturated visuals we otherwise see. It ensures that whatever political statement that Raju Murugan intended to make stays diluted. (more)

Source: Suganth, Times Of India

This Raju Murugan film leaves you in deep conflict

Raju Murugan, it would seem so, is less likely to not be crucified at the altar of his National Award-winning sophomore film. Gypsy is no Joker but a gypsy is who we could all aspire to be, if not for the jokers ruining it for us. (more)

Source: Pradeep Kumar, The Hindu

Very good intent and a promising story, but doesn't give a completeness as a film!

The geographies are established well through his visuals. Raymond Derrick's editing transitions are neat and it helps the flow of the film. (more)

Source: Galatta Review Panel, galatta.com

Source: PRasanth, Prashanth

A slice of harsh reality

Gypsy is an important film that has good storytelling with the right intent. (more)

Source: subhakeerthana, Indian Express

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'Gypsy’ review: A scattered film with forced messaging

Director Raju Murugan’s Gypsy released this Friday, overcoming several delays, especially since the Censor advocated quite a few cuts. These scenes that have not made it to he film, including the “Very Very Bad” song and the one with the Yogi Adityanath parallels, are available to watch on YouTube.

Gypsy starring Jiiva and Natasha Singh in lead roles is a film on music and love, as the director had already hinted in the trailer, with current day politics thrown in to reimagine this love in the times of religion based politics and political unrest.

There's a Tamil word, ‘desandhri’. It translates to ‘traveler’, a person who has many homes, who considers the entire country their home. Jiiva who plays Gypsy (an unimaginative name) is raised by a desandhri and grows up to be one. Gypsy has a back story but that is a story that does not need too much imagination.

Born in Kashmir to Hindu father and a Muslim mother, an infant Gypsy loses his parents to a conflict and is picked up by the desandhri who is called as Senior. As he is raised all around the country by his adoptive father, Gypsy becomes a man of the land, well-versed in all languages and lives without  practising any religion. Gypsy is agonistic and this is a messaging the film tries to deliver at several points.

When he’s asked his religion, he says, “Matham pudikaatha manusha jaathi” (a human who does not like religion) and in  another scene, picks up pocket versions of religious texts like Bible, Gita and the Quran and says, “They all look the same but have different names and covers.”

But even with an interesting premise, Gypsy comes across as one-dimensional and unrealistic as it grapples with three distinct elements that don’t seamlessly blend with each other, mainly because of the way they have been presented to us. An aspirational story on ‘love unites all’ with characters that come across as far-fetched, set in present day political reality of communal clashes and religious politics just feels like Gypsy has piled on more than it can handle. The film therefore feels scattered, and we connect less with the story as it progresses.

Gypsy, who travels with his white horse Che, makes a living by performing at events with his dancing horse. He is also a very good singer, having picked up songs from different parts of the country. But except for these bulletin points, we connect very less with who Gypsy is as a person, as a friend, as a lover.

The story has few political references in the first half, focussing more on the love story between Gypsy and Waheeda (Natasha Singh), a Muslim woman he meets at Nagoor. This can be disconcerting at first since the lead character is not your usual hero. He lives outside the confines of law, does not own an Aadhaar card, and so we’re expecting more confrontation with law and authorities. However, we get little of this. In fact, Gypsy makes best use of situations, meandering his way through with a laugh. At the Tamil Nadu-Karnataka border where some party functionaries are advocating hatred against each other, Gypsy uses his knowledge of languages to turn the situation to his favour.

In most places, the film’s messaging seems forced, and frankly not well thought out. This is evident in the scene in which Gypsy finds Waheeda crying, not happy with her imminent wedding. We’re sure, at that point, no one in the theatre would have seen Gypsy’s reaction coming. Referring to an India-Pakistan match he was watching just before meeting Waheeda, Gypsy says, “Don’t be upset, it does not look that grim -- your people could win.” This is cue for the Muslim-Pakistan reference and an angry Waheeda pledges her allegiance to India.

The “peace song” too is poorly written. We don’t get a sense of why people are doing it and consequentially believe lesser in its power to unite people together. The lines “Manitham thaandi punitham illai va, idhayam thaandi iraivan illai vaa” (There’s nothing more scared than humanity and there’s nothing more devine than the heart) are indeed beautiful but in the film they do nothing to move you.

Waheeda is clearly scarred and is suffering from post-traumatic stress. Is this peace concert aimed at healing her? or at healing people as a collective? Gypsy does very little here in showing us Waheeda’s plight but we ironically feel like the focus is on her. Every time she meets Gypsy, she widens her eyes in fear and we hear people crying and other sounds from the violent night. This happens several times in the film and sadly, with repetition, it has lesser effect on us.

The film has very good music but in some places the background score sounds a bit intrusive. Inspite of the clear reference that this film treats its music with great importance, because of the fact that it deal with too many things and ideas all at once, none of them leave an impact on us. Neither love, nor the idea that music can connect all of us. 

Disclaimer: This review was not paid for or commissioned by anyone associated with the series/film. TNM Editorial is independent of any business relationship the organisation may have with producers or any other members of its cast or crew.

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